Speed (1552-1629) is the most famous of all English cartographers primarily as a result of The Theatre of the Empire of Great Britaine, the first atlas of the British Isles. The maps from this atlas are the best known and most sought-after of all county maps. The maps were derived mainly from the earlier prototypes of Christopher Saxton and Robert Norden but with notable improvements including parish "Hundreds" and county boundaries, town plans and embellishments such as the coats of arms of local Earls, Dukes, and the Royal Household. The maps are famed for their borders consisting of local inhabitants in national costume and panoramic vignette views of major cities and towns. An added feature is that regular atlas copies have English text printed on the reverse, giving a charming description of life in the early seventeenth century of the region. The overall effect produced very decorative, attractive and informative maps.

For the publication of this prestigious atlas Speed turned to the most successful London print-sellers of the day, John Sudbury and George Humble. William Camden introduced the leading Flemish engraver, Jodocus Hondius Sr. to John Speed in 1607 because first choice engraver William Rogers had died a few years earlier. Work commenced with the printed proofs being sent back and forth between London and Amsterdam for correction and was finally sent to London in 1611 for publication. The work was an immediate success and the maps themselves being printed for the next 150 years.

Speed was born in 1552 at Farndon, Cheshire. Like his father before him he was a tailor by trade, but around 1582 he moved to London. During his spare time Speed pursued his interests of history and cartography and in 1595 his first map of Canaan was published in the "Biblical Times". This raised his profile and he soon came to the attention of poet and dramatist Sir Fulke Greville a prominent figure in the court of Queen Elizabeth. Greville as Treasurer of the Royal Navy gave Speed an appointment in the Customs Service giving him a steady income and time to pursue cartography. Through his work he became a member of such learned societies as the Society of Antiquaries and associated with the likes of William Camden Robert Cotton and William Lambarde. He died in 1629 at the age of seventy-seven.

Thursday, 24 October 2013

This October Sanders of Oxford are pleased to announce the release of a
broad collection of recent acquisitions. Over the past few months we
have been busy collating a selection of fine and decorative prints and
maps spanning a diverse range of subjects, engravers and prices.

Whether you are a specialist or a generalist we hope that our current
catalogue of rare and unusual material offers something of interest.

Sunday, 22 September 2013

Image 341 x 217 mm, Sheet 420 x 297 mm.From an edition of 200, signed and dated by James
Brown.

We are excited to announce that we have just received a selection
of James Brown prints that we have not previously had in stock before.We are even lucky enough to get our hands on
some of his most recent work!

Make sure you have a look on our website, or better yet, pop into store, to check
out these wonderful prints.

Tuesday, 30 July 2013

Over the past year or so we have been keeping an eye out for British printmakers who create contemporary works that sit well amongst our antiquarian material. This has drawn us towards a small collection of artists who hold the craft of printmaking close to their hearts and employ visual techniques that have been used in print for centuries, such as John Dilnot's interpretation of the classic entomology print:

Beetles
Screenprint2006Image 290 x 200 mm, Sheet 370 x 280 mmEdition of 200.Despite John's interest in printmaking, his work
is led by ideas rather than process, in particular the human
relationship with nature. A childhood spent playing and rooting about in
his grandparent's large Kent garden left a lasting impression and
remains the source of many ideas and work, such as the box 'Bad Apples'
and the books 'Weeds and Pests' and 'With the Worms'.

Dilnot
studied graphic Design at Canterbury College of Art, followed by Fine
Art at Camberwell School of Art in the early 1980's. John focused on
screen printing, exploring sequential imagery, which led to his first
artists' books. He also made boxes at this time, which featured in his
degree show installation. John's box works have since become very
collectable.

ChandleryA two colour screen print on off-white 270gsm paper. 2012Sheet 300 x 420 mm. From an edition of100, signed and dated by James Brown.

James Brown is an illustrator and printmaker living and working in London. Trained
as a textile and surface print designer, James worked in the clothing
industry for 10 years producing print designs for numerous fashion
brands from Levis to Louis Vuitton. After two years at Hope & Glory
menswear James embarked on a new career as an illustrator in 2007.

James
has been commissioned to produce work by publishing houses, magazines
and newspapers and advertising and design agencies. Recent clients
include GQ, Random House, The Guardian and The Poetry Society .

Alongside
his commercial practice James produces limited edition screen prints
and linocuts. James' prints reflect his interest in the printed and
typographic ephemera of pop culture. The traditional processes that go
into the production of James' prints are very important.Other artists that we have taken on-board include, Tom Frost, Chase and Wonder, Kay Vincentand most recently Emma Lee Cheng

Wednesday, 12 June 2013

Sanders of Oxford will once again be exhibiting at this years London
Antiquarian Book Fair at Olympia. We will have on display over five
hundred prints and maps from the 16th to 20th Century. These include
striking Japanese woodblock prints, early portraits, caricatures, maps
and fine mezzotints. All items will be listed on our website shortly,
but if there is anything in particular you would like us to bring along
just let us know.

This map derives from Dr. William Harvey’s ‘Geographical Fun. Being Humorous Outlines of Various Countries.’ It was a series of pictures in which the principal European countries were personified by a figure in keeping with the stereotypical character of its people. Harvey's publication first appeared in 1869, and was published by Hodder & Stoughton. A chromolithographic edition followed in 1871, which was printed by Vincent Brooks, Day & Son. It is believed that the maps were created by Lillian Lancaster; a fifteen year-old girl who envisaged them as a means to entertain her brother who, through illness, was confined to his bed. The works are a prodigious achievemnet for a girl so young. Her amusing draughtsmanship is accompanied by verse written by William Harvey, but accredited to his pseudonym ‘Aleph.’ The stanza for this map reads:

‘For Shakespeare’s Prince, and the Princess of Wales, To England dear. Her royal spirit quails; From skating faint, she rests upon the snow; Shrinking from unclean beasts that grin below.’

Lancaster’s map of the Scandinavian country appears to be a thinly veiled representation of Alexandra of Denmark. ‘Shakespeare’s Prince’ is a reference to Prince Denmark of Hamlet, whilst the ‘Princess of Wales’ appellation alludes to the position that she held from 1863 until 1901; the longest period that anyone has ever possessed the courtesy title. The activity of ice-skating is also pertinent, for it was one of Alexandra’s foremost social activities in addition to dancing and tandem horseriding.

The firm of Day & Haghe was one of the most prominent lithographic companies of the nineteenth-century. They were also amongst the foremost pioneers in the evolution of chromolithography. The firm was established in 1823 by William Day, but did not trade under the moniker of Day & Haghe until the arrival of Louis Haghe in 1831. In 1838, Day & Haghe were appointed as Lithographers to the Queen. However, and perhaps owing to the fact that there was never a formal partnership between the two, Haghe left the firm in the 1850’s to devote himself to watercolour painting. The firm continued as Day & Son under the guidance of William Day the younger (1823 - 1906) but, as a result of a scandal involving Lajos Kossuth, was forced into liquidation in 1867. Vincent Brookes bought the company in the same year, and would produce the caricatures for Gibson Bowles’ Vanity Fair magazine, as well as the illustrations for Cassells’s Poultry Book, amongst other commissions.

Friday, 10 May 2013

Sanders of Oxford are pleased to present the first in a series of
mini-exhibitions on subjects we are consistently asked for, but rarely
have the material. This first instalment concentrates on cycling and
the bicycle. With around 21,000 bikes in use in Oxford on a daily basis,
the bicycle is a subject close to the heart of many Oxfordians. On
display in the gallery from Wednesday 15th May will be a collection of
striking original posters and advertisements depicting the bicycle from
the late 1800’s to the 1930’s. The Golden Age of Cycling reached its pinnacle in the late 1800’s, during the Belle Epoque era1. This was also a period when poster art was at its height, with artists such as Alphonse Mucha and Toulouse-Lautrec producing graphic masterpieces. However few artists concentrated purely on the subject of the bicycle, some of the most notable poster artists of the age such as Jules Chéret and Lautrec produced advertisements for the likes of ‘Cycles Humber’ and ‘La Chaine Simpson’ (No 6), though unknown artists produced many spectacular posters as well.

With a boom in bicycle sales in the 1890’s there was ample funding available to the major bicycle manufacturers to commission more extravagant and impressive posters and advertisements, particularly in America. By 1900 the bicycle boom was over in the United States, but advertising was still dominant, this time due to a more competitive market. American advertisements of the period had a unique style, with catchy marketing slogans. This is in contrast to the elegant and artistic style of French poster designs that promoted a lifestyle as much as a product (No 1). However, British bicycles sales were, in this period, decidedly upmarket, resulting in a more conservative ‘gentlemanly’ approach. What can be seen towards the end of the nineteenth and the start of the twentieth century, is British bicycle advertising directed toward women (No 4). In this era in Great Britain, for the first time, the bicycle allowed women a freedom of movement previously denied.2

The primary printing method of these posters was multi-colour stone lithography, invented by Jules Cheret at the end of the nineteenth century. For each colour printed, a separate lithographic stone/plate had to be drawn, with precise registration of the paper each time the stones were put through the press. These original posters are printed on very thin paper, similar to newsprint. Acting as the billboards of the day they were only expected to survive for a limited period of time, pasted in public places to advertise a product or event. Their artists and printers knew that they would be rained on, torn down and covered up; therefore it is extremely rare to find them in perfect condition. The process of stone lithography limited the number of posters that could be created; a run of approximately 2,000 was standard. However because they were not created as collectable artworks, or intended to last for more than a month or so, they were not numbered and often they were not signed.3

1.The Belle Époque or La Belle Époque, French for “Beautiful Era” was a period in French history that is commonly dated as starting in 1871 and ending at the outbreak of World War I. Occurring during the era of the Third French Republic, it was a period characterized by optimism and peace both at home and in Europe. The peace and prosperity in Paris allowed the arts to flourish, and many masterpieces of literature, music, theatre, and visual art gained recognition. The Belle Époque was named, in retrospect, when it began to be considered a “golden age” in contrast to the horrors of World War I.2.Old Bike.Eu. Vintage Bicycle Adverts 1900-1920. [Online]. Available: http://oldbike.wordpress.com/vintage-bicycle-adverts-1900-1920/. Accessed 30th April 2013.3. IVPDA. (2006). Starting Your Collection. [Online]. Available: http://www.ivpda.com/cgi-local/content.cgi?p=5. Accessed 30th April 2013.

Monday, 15 April 2013

The PBFA Oxford Book Fair returns this weekend to the Main Hall at Oxford Brookes University, ourselves alongside nearly 100 other antiquarian book, print and map dealers will exhibiting a diverse range of material from modern first editions through to 16th Century Bibles.

Tuesday, 12 March 2013

Oxford was a stronghold of the Jacobite movement. In the 18th century, Oxford printsellers were providing prints of the exiled Royal Family for the large Jacobite customer base within the University. In fact, it was once said by Willaim Pitt that, “Oxford is paved with Jacobites,” so it is somewhat appropriate that Sanders of Oxford is doing their bit to continue the tradition of selling Jacobite prints in Oxford.

The following work contains a few extremely rare, and in some cases unrecorded prints. This material derives from the library of Viscount Strathallan, whose family were Jacobite supporters. When the chance came to acquire the collection, we could not resist, especially given the success of our previous Jacobite catalogue of 2005. We at Sanders of Oxford hope that you enjoy it. Click here to browse the catalogue

Tuesday, 26 February 2013

This February Sanders of Oxford are pleased to announce the release of a
broad collection of recent acquisitions. Over the past few months we
have been busy collating a selection of fine and decorative prints and
maps spanning a diverse range of subjects, engravers and prices.
Whether you are a specialist or a generalist we hope that our current
catalogue of rare and unusual material offers something of interest.

Thursday, 14 February 2013

Happy Valentine's day! For all of you romantics out there there is
still time to get something special for your someone special.

We have a fantastic collection of original Edwardian and Victorian
Valentines cards. Pop down to the shop to view our selection of
nineteenth century Valentine cards, from the sentimental to the comic.

Valentine's Day is a holiday with a long history. Though it bears a
saint's name, its origins seem more firmly rooted in pagan celebrations
of the beginning of spring than in the history of its martyred
namesakes. Valentine's Day traditions are wide-ranging, but have long
involved the exchange of some love token or small gift with one's
valentine. In 18th century England and North America, these exchanges
often took the form of hand-made valentine cards. By the 19th century,
these traditions expanded. Home-made cards were widely replaced by
commercially produced valentine cards, and the cards were sent not only
to one special valentine, but often to a wider circle of friends and
relations. For more information on this history of the Valentine card
visit this fantastic site by the University of Indiana.

Monday, 4 February 2013

Alongside our in-store sale we have put together a mini-catalogue of
over 100 items in our February sale, offering everyone a chance to snap
up a bargain before the end of February.Click here to download the sale catalogue.

Wednesday, 30 January 2013

Although on a much smaller scale than previous years there will still
be plenty bargains to be had, with up to 75% off selected prints,
reductions on framed stock and hundreds of prints from £1 to £5.
Subjects including Caricatures, Flora & Fauna, Portraits,
Topography, Decorative and many more.

All sale prints will be on display in the gallery from Monday 4th February.

Friday, 25 January 2013

If you haven't seen our Pre-Rapahelites exhibition you have until the end of the month to get yourself down to the gallery to take a look and surround yourself with one of the best collections of Pre-Raphaelite prints ever to be offered for sale.

The Pre-Raphaelite Brotherhood was established
in 1848; an era now referred to as the Year of Revolutions. It was the year in
which Louis Philippe abdicated from his throne, and the French Second Republic
was later declared. The Palermo rising erupted in Sicily, whilst Denmark and
Germany were rooted in conflict surrounding the Schleswig-Holstein Question.

Rebellion, however, was not restricted to the
continent, and London became something of a nucleus for it during this time. The
Communist Manifesto of Marx and Engels was published in the capital and
serialised in the Deutsche Londoner
Zeitung. Kennington Common was also
the site of the Chartist demonstration as 150,000 people marched in support of
political reform. William Holman Hunt and John Everett Millais were amongst the
protesters, and a month later, at the house of Millais’ parents in Bloomsbury,
they launched their movement. Like the year in which it was formed, the approach of
Pre-Raphaelitism to the world of art can be read in terms of revolution.

Though recent exhibitions and publications have
stressed the avant-garde aspects of the movement, their involvement in the
shifting climate of printmaking is seldom discussed. The Pre-Raphaelite’s
played an important role in the etching revival. They also contributed to the
burgeoning culture of book and magazine illustration, as copies of their works
were reproduced in Edward Moxon’s edition of Tennyson’s poems and the
evangelical periodical Good Words. Nonetheless, it was in the
advancements made to photographic reproduction in the latter half of the
nineteenth-century, and the Brotherhood’s endorsement of them, that truly
marked their innovation.

Dante Gabriel Rossetti was an early advocate of
this, and commissioned a daguerreotype of his painting The Girlhood of Mary in
1853. His act was exceedingly prophetic. Horace Vernet and Eugène
Delacroix opted to have works translated in Louis Daguerre’s native France a
few years prior, but Rossetti was amongst the first Englishmen to experiment
with the print, and in doing so, anticipated the flourishing of the medium in
the coming years. Although the daguerreotype became quickly outmoded, Rossetti
and the Pre-Raphaelites continued to subscribe to similar photographic devices.
Because of this, a mutually beneficial relationship arose between the method
and the movement.

The invention of photography, and the
reproductive potentials which came with it, radicalised the field of
printmaking. It allowed for greater quantities of images to be reproduced at increasing
speeds, whilst freeing publishers from the process of engraving. But herein lay
the problem. In his Dictionary of
Accepted Ideas, 1872, Gustave Flaubert inquired about the purpose of art
when it could be replaced by mechanical
processes which did the job faster and more exceptionally?[1]
Art and photography were often viewed as separate entities. However, the symbiotic
relationship enjoyed by Pre-Raphaelitism and photgraphic reproduction acted to
dispel this notion.

Fidelity to nature was one of the foremost
doctrines of the Pre-Raphaelite movement. What was the use of Holman Hunt
fastidiously capturing the atmospheric effects upon the architecture of
Magdalen Tower (Page no. 20), if the detail would get lost in translation. The
Brotherhood understood that the photographic print, more than any other method,
could convey the physical qualities of painting, and in their continued
endorsement of the technique, they in turn legitimised the status of
photography as a fine art. The movement’s repeated employment of photogravure
is especially pertinent. The technique combined tradition and innovation, as
the gelatin tissue of the photographic negative was subjected to the etching
process. Quattrocento conventions were given an innovative twist. The parallels
to Pre-Raphaelitism are clear, but the results of the relationship are
spectacular.

Monday, 7 January 2013

Sanders
of Oxford are pleased to present an exhibition of original prints by the
leading Pre-Raphaelite artists.

Following the success of our first Pre –Raphaelite print exhibition in 2010 and
with the recent exhibitions at the Ashmolean Museum and Tate Britain bringing
the work of the Pre-Raphaelites to fore of public attention, there has been a
resurgence of interest in what is regarded as the first British modern art
movement.

Pre –Raphaelites in Print brings together a fine collection of etched
and engraved works by distinguished artists of the Pre-Raphaelite Brotherhood
and their followers. Including work by Edward Burne-Jones, William Holman
Hunt and Dante Gabriel Rossetti.

This exhibition provides a rare opportunity to view and purchase scarce printed
works by some of the most pre-eminent English artists of the nineteenth
Century.

Highlights of the exhibition include a very scarce photogravure by Holman Hunt
of the May Day choir singing from the top of Magdalen College Tower, a highly
detailed etching by Jules Simon Payrau after Sir Edward Coley Burne-Jones’ The
Garden of Hesperides alongside a Berlin Photographic Company impression of
Dante Gabriel Rossetti’s Dante’s Dream at the Time of the Death of Beatrice.

An accompanying catalogue will be available to download from our website from
the 17th of January: www.sandersofoxford.com

If there is anything that takes your fancy just click on the purchase/reserve tab next to the image and we will get back to you as soon as possible with payment options. Alternatively give us a ring on 01865 242590